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pantheon// media kit


contents

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student published magazine

4

readership

6

about pantheon//

8

advertising rates

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advertorials

Cover // inside the pantheon, still a functioning church // photo by William Bereza


magazine made by students Nina Bohm, editor-in-chief

There seems to emerge an increasing divide

architectural articles, interviews and reflections

in the world of architecture students, those

on the activities that Stylos organizes. The

who take their courses without paying much

pantheon//, always printed on 100% recycled

attention around them and those who actively

paper, is being distributed among stylos-

participate in the relevant debate. Though

members, donators, beneficiaries, architects

the latter group is diffused and it’s voice gets

and is being sold at the Stylos bookshop and

muffled in the crowd. Consequently a lot of

at Nai Booksellers. Students, like no other, are

interesting and surprising research and design

receptable to new ideas, able to respond to

goes unnoticed.

it or to organize something theirselves. Like

‘The students of today are the architects of tomorrow.’ Made by serious students, the pantheon//

many designers they inform theirselves by

finds it’s ethos in it’s critical enquiry. Longing

means of magazines, blogs and with their

for a time when designs where dissected into

own eyes during exhibitions and excursions.

their intellectual essence and not measured

This makes for a constant reflection of their

in monetary yield or graphical impact. A

context, what makes or breaks it. These people

magazine that provides a cross-section

have the tendency to change the world.

of the work and activities of the faculty of

Why should you be seen in the pantheon//?

architecture of the technical university in

Because pantheon// is a high-quality student

Delft. However critical enough to look beyond

publication that can make your business come

the borders of the faculty. The pantheon// is

across elegant and intelligent. The students of

a bimonthly periodical of Stylos containing

today are the architects of tomorrow.//

p a n t h e o n //

m e d i a k i t 2 013

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readership

Who reads the pantheon// magazine? companies 6% institutes

4%

architects

4%

students

86%

print edition: 2500 copies The pantheon// is also read worldwide on issuu, where the digital version of the magazine is published

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p a n t h e o n //

m e d i a k i t 2 013


5 reasons for collaboration

1 2 3

With over 2000 members Stylos is one of the biggest societies in the Netherlands. Each member is automatically a reader of the pantheon// and the magazine therefore has a broad student readership. Architecture students are generally known for there wide interest in new products and technologies. Not only students read the pantheon//. The magazine is a well-known name in the Delft University of Technology. The pantheon// is often spotted on reading tables of architecture offices.

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The editorial office is run by a varied group of dedicated students that want to broaden their horizon and be critical about architecture and their environment.

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This year Stylos exists 120 years and therefor it is a special year to become a contact of the society. In the pantheon// the 24th lustrum will be celebrated with a special publication.

photograph // Jon Lucas, published in article run free // #3 - 2010


about pantheon// The pantheon// is comprised of three main elements: stylos, theme and a number of recurring sections.

The Masterclass committee invited Luxembourg architect and urban designer Rob Krier for the third installment of the Stylos Masterclass. Before the start of the accompanying symposium ‘Composing Urban Space’, pantheon// committee 2011 had the chance to sit down with him about his work, tradition and modernism.

stylos

interview with Rob Krier Jurgen Beliën

Reporting and refl ection on the activities

You seem to be quite active in the Netherlands,

young. It will pass very quick. You can only do these fantasies if you have a lot of money. Take

Laan. By the way, he was not even the best one.

your bedroom and try to be flexible in your

Looking at some of your projects in the

complexity and flexibility. Even if Zaha Hadid

add something. Some weeks ago we came from Mexico, and I have never seen a city like Mexico

cupboard or bed! There is no need for high Netherlands, a ‘traditionalist’ language is

makes beds with slippery forms. In my book

they opened bars, butcher shops and bakeries and so on. During three weeks they had this

tradition according to De Stijl and Bauhaus. In

carried over from the urban design to the

about architectural composition, I constantly

artificial scenario, showing a piazza, and the

the fifties, the first houses were done by a not

architectural design. What would happen for

showed my students the parallel evolution of

City with such a modern, popular tradition. A

but through the buyers of the houses. For

people could see the maquettes. My students

so known collaborator of Le Corbusier. He came

instance in the Resident, if the architecture

regular and non-regular forms, but never a

example, I started a design in Helmond, and at

in Vienna built a model on the same theme of

back home and built this house for a painter

were ‘modern’? Would it have the same spatial

cultural highlight came out of an non-regular

Riviera. Those houses were the first absolute

effect, or is the traditionalist architectural

was responsible for a bigger area for about

had the impression that that was an existing

modern houses, and they were very successful.

vocabulary a prerequisite?

20,000 people, close to Eindhoven. We had

plan, and people asked what the prices where

More successful than even in the Netherlands,

five by five meters, in the scale 1:100. Everybody

for the houses, while those were student works.

system. Those projects can’t be used by teaching, because you can do anything if you can pay for it. Of course, if you have the money,

Well, if you have three times as much money,

there is no neighbourhood where you can

the social environment and the client, do it. It

in Helmond, in front of a major public, at the

After these three weeks, we had 700 candidates

refer to The Style, only some lost buildings

you could do modern façades. At that time, in

happened once with Gehry’s architecture in

beginning of our design. Teun had 150 meter

who wanted to buy a house in that first building

somewhere. That means that if you touch

the eighties, we tried to make the windows a

Bilbao. But a second time in Denver with Daniel

long row houses, all black and white, extremely

block in Brandevoort of 70 house. That was a

tradition, it could also be modern tradition. It

maximum percentage of the façade, because

Libeskind, it didn’t happen. That museum turned

radical, without any idea about an urban space

success. And of course, immediately after that,

could even be your tradition in Mexico!

of the insulation. Nowadays, people again

out to be a flop.

in between. And all the things identical, just like

make huge glass windows and want to use

the second block was designed. It is the same

machines, while in the mean time, the Vinex

as having a bakery, and people line up every

Your work comprises both urban intervention

solar energy that way, while that would never

Another example is the cinema by Coop

locations in the Netherlands had this kind of

morning because you the best product. That’s

in old cities as well as designs for new towns,

function. Of course, sunlight through the

Himmelb(l)au in Dresden. Wolf Prix is a good

façade will bring some heat in, but when? In the

friend of mine, but that cinema in a city like

variety with for instance the inclination of the

the only mystery behind it. Of course we made

like Brandevoort. How do these types of

roofs. The trick is to find with the budget of

the ground floors high enough, so people could

projects differ from one another, and what

summer! Another example, in Amsterdam, on

Dresden is such an idiot import from Austria. It’s

role does history play in the two?

these new harbour islands like Java Island, there

a persiflage of the dramatic cultural situation of

is one area with single family houses. And these

that destroyed city. I think it is even a cultural

There is no difference. There might be different

house are a million or more, while our houses are

offence. I could not be so superficial to bring that

low-cost housing a differentiation of houses.

convert them into shops, which happened

What I proposed in Helmond, with support

immediately.

‘We had 700 candidates who wanted to buy a house in that first building block in Brandevoort of 70 houses.’

between 250 and 350 thousand euros. That’s the

practical problems, but the theoretical approach

kind of stuff to that destroyed city. Es stehen dir

is the same. Of course in new towns, you could

difference, if you want to do it good. Of course,

die haare zu bergen. You could do such a personal

never refer directly to an old city. You would

modern design with bad detailing doesn’t bring

reaction in an art installation, or a painting, but

of the mayor, was to invite young architects,

The last sentence of the introduction of Town

build normal Dutch houses, with normal

anything, then we fall back to the quality of the

we have a very strong responsibility in our job.

maximum 45 years old, to a private competition

Spaces reads: “We are on such a lonely guard

staircases. The Dutch accept a house that is

fifties or sixties.

We should ask ourselves “could this be

on the site. We selected 12 different young guys,

duty with the defence of traditional urban design that I find it is a wonder that in the

While in Luxembourg a house must be at least

Netherlands of all places, one of the most

12 meters wide. I made in Amersfoort a block

progressive and modern countries in Europe,

‘Well, if you have three times as much money, you could do modern façades.’

this theme is not only openly and seriously

and 4 floors high. This typology works better

Current buzzword at our faculty seems to be

something that people can built upon for

discussed, but also put to the test.” Why might

in your country because you’re use to living

complexity, as a potential answer to flexibility.

centuries and centuries?”. This is what happened

a city centre with only row houses and where the

this be?

a little ‘tighter’ together. In Brandevoort, the

Basing your design on as much information

with Classical architecture. The Greek temple

houses were seen as being typical Dutch and

as possible should guarantee a better design

was refined and evolved over thousand years.

14 meters with trees and parking, that wasn’t

That is your culture, you are trained over

not as an abstract product that could have been

solution, while at the same time legitimising

They concentrated on the quality of a column,

done before. Not even in new Vinex locations,

centuries to be open-minded. You accept

built in Atlanta or Las Vegas. I told those young

non-regular forms . How do you see this?

which had to be so unbelievably complex,

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two years about how the columns are inclined. We were twenty years old at the time and we all thought the guy was a freak. Ten years later, I

with single family houses, all 4.50 meters wide

the first block. The promoter had no idea if this could be a good product for the market, because streets are continuous and have a maximum of

geometrically speaking as well as technically speaking. I had a professor who taught us over

4.50 meters wide, 6.20 meters is the maximum.

and everyone made a design for a house. Then we decided as a team with all the maquettes together how it could work. This was just for

s t y l o s // k u n s t // a l g e m e e n

understood what he was talking about.//

>> This interview took place on 2 December 2010 >> Image by Kramer + Giogoli Photodesign

7

s t y l o s // k u n s t // a l g e m e e n

The rise of the internet might have changed our lives forever, but what can we learn from history in order to better understand the changes that occur in our online life?

architecture thematic

public life, privatized Jurgen Beliën

Reflections on current developments in

Much like eighteenth century Paris and London, people willingly entering the new social dimenWe seem to have come a long way, and the twenty-first century seems to have firmly manifested itself as the century of the true bottom-up democracy. We feel we can say

architecture but also re-interpretations by

fascinating is that even in less extreme

naturally were places in which speech flourished. When a man entered the door,

cases, where the disparity between

he went first to the bar, paid a penny,

traditional clothes and new material

was told, if he had not been to the place

conditions had not forced someone into

before, what the rules of the house were

However, considering the tools we are using that

an act of impersonation, where instead he

[...], and then sat down to enjoy himself.

accommodate this behaviour, are we really that

wore clothes which reasonably accurately

That in turn was a matter of talking to other

free? What can we learn from our past to better

reflected who he was, the same sense of

people, and the talk was governed by a

understand our behaviour?

costume and convention was present. At

cardinal rule: in order for information to

home, one’s clothes suited one’s body

be as full as possible, distinctions of rank

The forming of modern public life

and its needs; on the street, one stepped

were temporarily suspended; anyone

from the eighteenth century, formed by the rising of the bourgeoisie and the decline of the aristocracy. This process was particularly

stylos // theme // general

“What makes 18th Century street wear

anything, share anything, do anything online.

The form of public life known to us now came

means of interviews, essays and articles.

into clothes whose purpose was to make it possible for other people to act as if they knew who you were.” (Sennett, 1992, p.67-68) Of course, most important to comparing eight-

sitting in the coffeehouse had a right to talk to anyone else, to enter into any conversation, whether he knew the other people or not.” (Sennett, 1992, p.81)

eenth century public life with our contemporary

Apparently, the coffeehouses were acting as a

that time, Paris and London (Sennett, 1992, p.48).

social behaviour online, is speech. Ironically,

social leveller.

During this period both cities began to see a rise

the place for people to gather ceased to be

in the growth of its population, due to external

the square.

apparent in the two biggest western cities at

Later on, in the middle of the eighteenth century,

the film We Live in Public (2009). Filmmaker Ondi Timoner followed internet entrepreneur Josh Harris and his projects over the course of ten years. One of these projects, called Quiet, consisted of one hundred people living together in a bunker converted into a capsule hotel. None

The Fail Whale, the error screen Twitter shows when their service is inaccessible.

of the ‘rooms’ had doors, but every single one of them was equipped with a video camera filming

networking platform our ‘target audience’ is

social networks are gatekeepers of all users,

breaking family ties in the process. Adding

controlled zone of the house. The monu-

with that, the explicit rules of the coffeehouse

feeds from every room available to everyone.

coffeehouses, these corporations are free to

definition closed platforms. This means that,

to this the disappearance of guilds, and the

mental squares of the early 18th Century,

disappeared. The rules of conduct were the

These video feeds were also made public on the

set rules and terms of use. Facebook (2010) for

as it stands now, we are giving up on freedoms

complete redistribution of living environments

in restructuring the massing of population

implicit rules of social conduct.

internet. Everything the people in Quiet did was

instance specifies in its Statement of Rights and

by using them, no matter how many Egyptians

due to the population growth, where a person

in the city, restructured the function of the

“Taking walks in the park became in turn

public. With this experiment Josh Harris tried to

Responsibilities that convicted sex offenders are

name their children Facebook.//

came from, where he or she lived and what his

crowd as well, for it changed the freedom

the means of maintaining, en masse, that

show that people are willing to give up privacy

barred from signing up to Facebook. And Twitter

or her profession was, disappeared as grounds

with which people might congregate.

sociability between classes which the

for public exposure and more specifically fame.

now tries to ban others from creating software

to ‘classify’ others.

The assemblage of a crowd became a

coffeehouses had formerly provided.”

He argued that in the future almost everyone

to interact with the service, reversing its stance

(Sennett, 1992, p.85)

will make this choice, and he was right.

on third-party software

specialized activity; it occurred in three

weakened any trust people could place in

places—the cafe, the pedestrian park, and

the ‘natural,’ routine labeling of others by

the theater.” (Sennett, 1992, p.54)

constantly and a television that made the video

Interestingly, two out of three places that did

The arrival of the World Wide Web early nine-

(Sennett, 1992, p.60)

accommodate the gathering of people specified

ties gave everyone the possibility present themselves to (and share their opinions with)

Fast forward to 2011. The prerequisite of

the rest of the world, granted they had the

technical knowledge has disappeared. Sharing

technical knowledge. It gave people the chance

with the rest of the world, by means of status

to form a new public life, a new public facet of their own self. The technologies making this

.

updates on Facebook and tweets on Twitter, has become a reflex. The trade-off however is that our online social life has grown dependent on

Looking back at the differences between our current public life offline and the forming of

Sources:

this modern public life during the eighteenth

>> Facebook. (2010). Statement of Rights and Responsibilities. http://www.facebook.com/terms.php. Last accessed: 11 March 2011. >> Paul, Ryan. (2011). Twitter tells third-party devs to stop making Twitter client apps. http://arstechnica.com/ software/news/2011/03/twitter-tells-third-party-devs-tostop-making-twitter-client-apps.ars. Last accessed: 12 March 2011 >> Sennett, Richard. (1992). The Fall of Public Man. London: W.W. Norton & Company, Ltd. >> We Live in Public. (2009). Motion Picture. Interloper Films / Pawn Shop Creatives.

century, we have gained notable freedoms in sense of self-expression. Naturally, we took these freedoms to the internet and wanted to share

ments. The result is that the operator of the

people met and interacted in public. It created

establishment could set rules of conduct and

protocols were non-excluding, open means to

protocols of the beginning of the internet. We

a new website and service, the social network.

the need to present oneself, for instance with

was free to deny patrons access.

communicate with others.

are in a sense trapped, forced to use the social

And unfortunately, due to the fact these these

foundation of the internet itself. By design, these

privately run corporations, instead of the open

our lives with the whole world. This gave rise to

“As information centers, the coffeehouses

power of failure Antje Adriaens

indesem

Robin Gringhuis

Alexis Ierides

In April fifty (inter)national students from the USA to Spain, Eindhoven, or even Delft, descended to the faculty. Indesem interests architecture students from universities all over the world. Indesem’13 Scale Matters is a biennial seminar with workshops and publicly accessible lectures that were hosted from the 19th until the 26th of April 2013 at the Faculty of Archi-

the goal of intensifying and diversifying the public space.

tecture at the TU Delft. This year’s edition was also privileged to be able to celebrate Indesem’s fiftieth anniversary.

ideas by trying them out. This means students as well as professional architects should experiment and make as much as possible. Only through finding what does not work, will one know why and how something else will work. In any other case, a design would just be a random guess. To educate future architects with this mentality, space for experiment within the educational system is essential. If students are not able to fail, they will never be daring to try something different or new. Unfortunately the current system, with checklists of deliverables combined with a high workload, does not particularly allow for this kind of behavior. If, as is the case in some master studios, people with good ideas fail and people with shitty ideas but the required drawings pass, there is something greatly wrong with the assessment model.

a full week in this area of Amsterdam North, originally designed by Koolhaas. The groups read about, visited and researched the location as much as possible, before defining an important issue that they could tackle in a week. The group was free to define the scale of this issue, and accordingly also the scale on which they chose to work. The final product was presented to and judged by a renowned jury, consisting of Marc Koehler, Patrick Healy,

dable instruments that could be used all over the neighbourhood. Instruments like paint, pergolas, sand, wooden boards, parasols, etc. According to the current situation the best location is chosen for every instrument and placed there temporarily. From this moment on, the residents are free to adapt and even relocate the object to fit their needs. They could also choose to copy an instrument and place it in other locations, if it has proven to work exceptionally well.

Although the system in its current state might not stimulate being experimental and failing while getting the benefits out of it, I would still suggest students to do so. Do not accepts the checklists, be smarter than that. Direct your own process and your own learning. What do yóu want to make? Where do you want to be? Yes, the system has power, because it decides whether you pass. But if you already adjust your designs during education, how strong are you going to be in practice? Perhaps if you are trying out new stuff you need to prove your ideas more, work a little harder than by following the rules. But aren’t rules just really boring? At least this system trains you to be strong, to keep believing in your own ideas although others will not always support them. Just keep going, experiment, fail, improve and prove them wrong, eventually it will make you stand out.//

Alexis’ Indesem

scale matters

are those who shape the world, and in doing so, try to make the world a little better. Their job is to implement new inventions, or to come up with new solutions to new problems. This often means working in unfamiliar situations or on projects where no standard solutions exist. As there isn’t one correct answer in design practice, students should be trained in detailed analysis of the project, but also in critical reflection on their own ideas. In this way they will be able to comprehend whether their concepts fit their analysis, and thus the situation they are designing for. As there is not a predefined result both students and practicing designers are working towards, one can only test

Workshops Designing an intervention in Amsterdam North, based on a self-defined problem in the neighbourhood, was the task given to the students. In groups of five they worked for

Winning project The winning intervention’s vision was that the waterfront of the IJ should be used more intensely. Analyses show that the current plan has two main streets that define the area. By utilizing these lines, the plan strengthens the relationship between the neighbourhood and its surroundings, especially towards the IJ. The elongated lines stretch from within the neighbourhood like fingers into the water, with each their own theme and characteristics, and with

Ik ben Alexis, een derdejaars bouwkunde student aan de TU Delft. Ik heb deelgenomen aan International Designing Seminars, omdat ik het interessant vond om samen te werken met docenten, architecten en studenten uit verschillende instellingen, landen en opleidingen over een thema dat te maken heeft met hedendaagse problemen. Maatschappelijke discussiepunten, die ook belangrijk zijn voor architecten.

The proposal is to set up a catalogue of affor-

Het thema van deze workshop ‘Scale Matters’ werd toegepast op gebiedstransformatie in AmsterdamNoord. We werkten in groepen van 5 personen met 1 tot 3 begeleiders. Het was een geheel nieuwe ervaring voor mij. Ten eerste om samen te werken met bouwkunde studenten uit verschillende landen en instellingen. Ten tweede om te werken met begeleiders uit verschillende landen, met verschillende invalshoeken. Mijn begeleider schreef voor een architectuurtijdschrift. De begeleider voor een groep naast die van ons was freelance architect en weer een ander was stedebouwkundige.

The instruments from the catalogue address the human scale, but as a whole influence several other scales as well. They allow activities to be spread more equally across the neighbourhood. Quiet, abandoned areas can be given a certain quality, or character, that makes them interesting again for certain users and/ or times during the year. For instance, several

“When you design a city it’s not all about buildings (…) You have to jump scales all the time.” Mark Pimlott, Gemma Koppen and Machiel van Dorst. Of all ten groups, three projects were chosen as winners. These projects stood out, either by their radical vision and/or their smart choice of interventions.

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s t y l o s // l o s i n g g r o u n d // a l g e m e e n

s t y l o s // l o s i n g g r o u n d // a l g e m e e n

26

traffic and data on their service, they are by

(Paul, 2011)

Josh Harris tried to show that people are willing to give up privacy for public exposure and more specifically fame.

The promise of the internet

origin, family background, or occupation.”

using. Moreover, much like eighteenth century

The emergence of ‘strangers’ affected how

As students in a creative course at a technical university it is expected of us to try out new things, to come up with nonstandard solutions, to invent. Architects, urbanists and landscape designers alike

p a n t h e o n //

effect on public life is perhaps best shown in

the mix between people from different social

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stylos // theme // general

The potential of the internet, and it’s prospective

standing took place in the public park. And

possible were the protocols that served as the

be considered a constant host of debate.

represent themselves. Of course, this was only

were free zones in Paris, as opposed to the

clothing:

one lecture, event or subject, pantheon// can

like in the eighteenth century this also gave the people the opportunity to create a new self, an

the beginning.

“The medieval and Renaissance squares

by Sennett are actually privately run establish-

Through showing different viewpoints upon

deal with ‘strangers’, whose exact personality, heritage or profession were unknown. Again,

avatar. People could choose how to specifically

migration. This migration flow consisted of

“The material conditions of life in the city

debate

sion created by the internet, suddenly had to

mostly young people, moving to the city alone,

Where a person came from, where he or she lived and what his or her profession was, disappeared as grounds to ‘classify’ others.

6

It seems like a revival of the sixties, when I was

even one of the relatives of Dom Hans van der

being tolerant was good for them. But I have to

there, you got the impression you were standing on a piazza. On the ground floor of the houses

active in the Netherlands? The success does not come with the promoters,

a parallel presentation at Piet Blom’s theatre

stylos // theme // general

be. They came from the Bossche School, we had

can live together with them. The Germans are so radical. The Dutch were seafaring people and

designs of the houses on panels. When standing

have had much success with your designs. Is there a reason Krier Kohl Architekten is so

the same time Teun Koolhaas, a cousin of Rem,

association.

architects to be Dutch, as Dutch as they could

different philosophies, different ideas, and you

a building material exposition in Eindhoven, in a industrial hall, they made 1:1 prints of the

Town Spaces you write that developers here

organized by the overarching study

where a lot of streets are cul-de-sacs. During

with projects in Amsterdam, Almere, The Hague, Helmond and Beverwijk. In your book

activities in and around the water will spark lively use of the waterfront in the summer in this area. Not only for the residents in the immediate surroundings, but for Amsterdam North as a whole. Additionally these interventions change the identity of Amsterdam North for the whole city as they create a varied and diverse image of the built city from the water and from the city centre of Amsterdam.

Speakers In support of the workshop, 12 publicly accessible lectures were hosted in the Oostserre of the Faculty of Architecture. The lectures were intended not only to inspire the workshop students, but also to attract all people that were interested in architecture and

s t y l o s // p o w e r // g e n e r a l

m e d i a k i t 2 013

urban design. The speakers spoke about their vision on Indesem’s topic, “Scale Matters”. On Friday, Irene Gallou made us realize that “when you design a city it’s not all about buildings […] You have to jump scales all the time.” Herman Hertzberger added on Monday that “It’s not local vs. global. It’s local and global […] How can we combine local and global? That is our power!” He continued by stating that the Borneokade as the “now,” is in fact the Herengracht of the past. Gert Urhahn talked about the Spontaneous City and how projects and locations should have the opportunity to “let it grow!” And according to Sjoerd Soeters, “’Scale Matters’ in the sense of proportion.”//

Ik stel het op prijs dat onze faculteit en studenten van onze faculteit dat organiseren en de mogelijkheid bieden aan ons om mee te doen. En dat zeg ik niet om aardig te zijn. Voor mij was het echt een leerzame ervaring. Door samen te werken met studenten van verschillende nationaliteiten, sommigen waren al werkende architecten, realiseerde ik me hoe belangrijk communicatie is voor een project. Voor een architect, maar eigenlijk voor alle vormen van samenwerking. Niet alleen communicatie op het gebied van taal is belangrijk, maar ook de manier van denken: Hoe kan je ideeën van anderen begrijpen, die uit een andere opleiding komen, of van een ander land? Dit vond ik heel interessant. Ik hoop dat deze workshops altijd beschikbaar zullen zijn voor studenten en iedereen die geïnteresseerd is. Dit zijn échte educatieve projecten, die belangrijk zijn voor de opleiding van iedere student.//

>> From top to bottom: Presentation by Neil Leach in the Oostserre, Faculty of Architecture. Judging by F.L.T.R. Marc Koehler, Patrick Healy, Mark Pimlott, Gemma Koppen en Machiel van Dorst (Not in photograph). Excursion on location and past the North-/ and Southern waterfront of the IJ Conversations between students and tutors in the Oostserre in the Faculty of Architecture. Getting to know each other, the theme and the influence of scale on designduring a workshop in The New Institute.

s t y l o s // p o w e r // g e n e r a l

27


recommended reading

recommended reading Noor Debets

In each edition a number of publications deemed interesting and relevant for the theme are being explored.

Atlas of the conflict

Massa en Macht

In de periode van 1970-1990 zijn er, geïnspireerd

E. Canetti

door de Constructivisten en de Westerse

Een van oorsprong Duits boek (Masse und

voor ‘Schönste Bücher aus Aller Welt’ en beschri-

Modernen, in de voormalige sovjetunie in

Macht) waarin Canetti op een filosofische wijze

jft op allerlei manieren het conflict tussen Pal-

grote getalen gebouwen gerealiseerd. Veel

de begrippen massa en macht uitlegt. ‘Nergens

estina en Israel. Het zijn veelal vereenvoudigde

architecten kregen, in het strakke regime van

is zo duidelijk de betekenis van het bevel en

kaartbeelden die, met twee mengkleuren, de

stylos // theme // general

Cosmic Communist Constructions Photographed (CCCP) F. Chaubin

M. Shoshan Deze Engelstalige atlas kreeg een Gouden Letter

de communisten, grote vrijheid om gigantische

van de verhouding tussen de (ge)dode en de

geschiedenis van beide landen laten zien. Ook

bouwwerken te creëren. De Franse fotograaf

overlevende onder woorden gebracht’ vermeldt

deze keer verzorgde Joost Wouterse, die al drie

Chaubin legde negentig van deze gebouwen

de achterkant van het boek. Aan de hand van

keer eerder de Gouden Letter voor zijn atlassen

vast in het boek CCCP, dat een naslagwerk vormt

mooie metaforen die aan de natuur gelinkt

won, de vormgeving. Onderwerpen als grenzen,

voor de complexen uit deze chaotische tijd.

zijn, probeert de schrijver het geheel leesbaar

muren, landschap, demografie en Jerusalem komen aan bod waarbij enkele foto’s extra

en begrijpelijk te houden en brengt hij in korte

312 pagina’s //39,95 euro //2011

fragmenten de lezer veel kennis bij over deze

beeldende informatie verschaffen

belangrijke begrippen. 547 pagina’s //16,50 euro //1960

320 pagina’s //35,99 euro //2010

29

s t y l o s // o n d e r d r u k k i n g // a l g e m e e n

2. onderdrukking.indb 29

One of the Netherlands’ most experienced architectural practices Claus&Kaan Architects hold two establishments: Amsterdam and Rotterdam. The Amsterdam team currently resides in a nicely situated building of their own design on the coast of IJburg. Office manager Ellen Wybenga told the story of this beautiful working environment for Pantheon//.

@architect

@architect: Claus&Kaan What is the first thing you do when you enter the office in the morning?

How many people work here in Amsterdam office right now?

we have visitors who think that the office is

I check if the alarm has been switched off, I

Right now Claus & Kaan Amsterdam is a team of

“ugly” which of course does not feel nice.

18 including two trainees and one receptionist.

Can you tell the story of this office shortly?

for a while.

floor to a dance school and the 1st floor to a real estate company.

I think this beautiful building with it’s amazing

Our only official break is for lunch. When the

view effects everyone positively. When we were

weather is nice we sit outside near the harbor to

at the Weesperstraat everyone was stressed,

Claus&Kaan, neat architecture with very sole

eat or we stay in our kitchen. While working with

it was different. But it was in the middle of

elements. We also want our visitors to experience

50 people we were having a lunch organized

the city which was an advantage. Some of

the simplicity because it is our face. Busy desks

everyday where two elderly ladies prepared a long table for everyone. We do not need that

diffrences because they have never worked in

anymore because everyone arranges lunch for

the old building. New building tells another

their desks on each Thursday afternoon. This is

story, a story of our own with it’s basic features

themselves.

How many days a week is there personnel in the office?

also handy for the cleaners, somehow it prevents

Do you organize office activities regularly?

and simplicity. This is who we are and at the

when we were working with 50 people.

We are pretty strict with working hours. We start

the chaos in the office space. In my previous work

We celebrate the new year together usually with

same time where we are. I see this as a unique

How did CKA move to IJburg?

This office follows a regular eight hour schedule

sharp at 09.00, you can not start before or after.

two establishments, one here in Amsterdam and

We have been here since October 2007. Back

which means everybody leaves around 17.30.

one in Rotterdam. Despite the name there are

then it was very hectic, we had loads of projects

Many things have changed with the crisis but

everyone had to personalize their working area

a dinner. Twice a year we organize an excursion.

and Felix Claus knew that. First thing he asked

We rent a bus or travel by bike to visit new

me when I started in CKA was if I was going to

projects. When we receive a huge project or

put candles and pictures everywhere

deliver a project we celebrate it immediately.

‘Last three years let us see how important it is to keep the personnel informed.’

work together with team Amsterdam. Kees Kaan,

and more than 50 personnel. The office was in

not our office hours. If personnel has to stay up

need of a larger workspace. At first not only this

every night something is clearly going wrong in

Rotterdam or do you only share this name?

building was incomplete but also Ijburg itself.

that office. Moreover this usually has a negative

Claus & Kaan Architects is a unity, the two

The harbor next to us was a big pile of sand.

affect on performance. It is very rare that we ask

offices should be seen as one architectural

But Ijburg offered something fresh, a new

for extra working hours but it happens when we

office that works independently on a practical

look. Unfortunately 3 years ago the crisis hit us.

have a huge deadline for example.

daily base. They have their own projects and

We had to let many people go, our personnel

staff but on management level there is a lot in

decreased down to 17 which caused the building

How dominant are the partners here? They are basically involved in all the projects and

to shrink as well. Unlike before, we now use only

about during the weekends?

the second, third and fourth floors. The fourth

Our office is closed from Friday to Sunday, we

We also organize social events such as new years

floor is where the reception and public relations

have a 4 day work week since the beginning

eve parties, excursions and summer activities

departments reside. We invite our guests to this

of last year. After the crisis just like everyone

magament meetings every monday. We discuss the finances, public relations, the personnel and take decisions that I make sure they get done. Do you have a favorite spot in the building?

together.

floor because it has the nicest view. On the third floor we have our model making rooms. All the

a day was decided together to be able to use

has the most beautiful view and very quiet unlike

What is the function of an office manager in

personnel including the managers sit together

the remaining days more effectively. At the

the other floors. I also like the first impression on

an architecture office?

on the second floor.

an advantage in this case. This way I can stand

You work in a building designed by your

out of the design process and remain equally

office, surely this is an exceptional chance

distant to every project. I have been working

but does it also have disadvantages?

here since 2000, from the time when the office

30

How are the relationships arranged in the office, is there democracy or hierarchy? I think it is a combination of both. We discuss everything together during our monthly office meetings. Last three years let us see how important it is to keep the personnel

also in the practical things. They coordinate the

Students will be happy to hear that, what

common. When it comes to public relations, competitions or publications we act as a whole.

First of all I am not an architect which works as

stylos // theme // general

opprtunity.

informed. Asking them their opinion, what they think about office related issues and decide together afterwards. I can not call it a democracy, there is no voting for instance. At the end there is one person who makes the decision but we try to make decision based on the ideas of the personnel.

team Rotterdam.

influence each other?

our current personnel does not know these

with colorful personal items can disturb this image. Therefore everyone is obliged to clean up

And there is me of course. After the crisis we

Vincent Panhuysen and Dikkie Scipio are with

environment to their output. How do they

Do you think your working environment has an effect on your performance as an office,

Do you have daily rituals in the office?

their working area? No absolutely not because this office represents

5 partners in total. Felix Claus and Jaap Gräber

Are you working together with Claus&Kaan

Before the crisis we used to go on excursions abroad. We have been to Copenhagen, Porto, and Berlin together but those had to be skipped

needed to gain something from the extra space we have left. This way we sublet the ground

comes from the fact that we have less architects with permanent contracts now.

had to scale everything down. There were times Claus & Kaan Architects were founded by Felix Claus and Kees Kaan in 1988. Currently we have

Is there currently anything else happening in this building? When we had to let our personnel go, we also

spacious, we definitely have enough space. We can be more flexible now. This flexibility also

positive or negative?

psychological bond with the space. Sometimes

always take the stairs up instead of the elevator, I make some coffee and turn on my computer.

body of work, relating their process and

half-separated from the others. When we had a small office and many architects this was becoming a problem but this building is very

Are your colleagues allowed to personalize

Sine Celik photo: Luuk Kramer

Interview with architects with a remarkable

20-06-11 10:51

CKA is the designer of this building but not

we started receiving less projects. Skipping

My workplace is the best place in this building. It

beginning this was worrying but now everybody

visitors faces when they see the view. Everyone

enjoys it, people have an extra free day although

gets amazed the moment they enter.

this means everyone gets paid less. Can you define your working environment

Does everyone have a stable working area

in three words?

within the office?

Beautiful, water and sky. I think the contrast

was still located in Weesperstraat. My main task

the owner. We are only renting this space and

Yes, everybody sits on the same floor we want

is to organize the office related issues as well

herefore we are not free to change whatever we

to have a certain organization. We have an open

as finances. Together with the other members

want. I do not see any disadvantages because it

office system but mostly architects working on

of the management team, I keep track of

is such a great building on such a great location

the same project stay close to each other for

personnel, program, payments and many more.

anyway, but this definitely forms a stronger

practical reasons. The partners also sit together

between the building and it’s surroundings is what makes it unique. When you look from my window, it is between flying and standing on water. At that moment there is nothing between you and the horizon.//

2. onderdrukking.indb 30

get inspired

31

s t y l o s // o n d e r d r u k k i n g // a l g e m e e n

s t y l o s // o n d e r d r u k k i n g // a l g e m e e n

20-06-11 10:51

2. onderdrukking.indb 31

20-06-11 10:51

get inspired

Inspiring new developments and must-haveseens. Stay up to date in a timeless manner.

Siriluck Songsri

Camera Obscura www.huberokororo.com //DIY School is almost over and if you are planning to do absolutely nothing this summer but you actually are afraid to get bored; try making your own paper cut-out pinhole camera. Never again gigabytes of pictures. But some shots with unique atmosphere and creative approach. #1

#5

Unsinkable Art www.ivanpuig.net //observe Spaces outside the walls of your design are sometimes neglected. Especially when there’s no more time left until the deadline. Some trees there, benches here. Try the other way next time; make an artwork of it like Ivan Puig is doing here. #2

stylos // theme // general

Patchwork Park www.ciglermarani.com //observe

#3 #2 #1 #4

Chess players are one of those who love spending their time in urban parks. Now they can have a whole new experience by becoming chess pieces, only in Czech Republic. #3

Papierarbeiten www.simonschubert.de //DIY Impress your fellow students and supervisors during the final presentation by making your interior impressions from a piece of paper only. #4

Digital Transportation www.wetransfer.com //use Nalden (nalden.net) and friends are well known for their interactive media skills and have created a delivery website where you can transfer big files without any registration. And it even looks sexy. #5

p a n t h e o n //

m e d i a k i t 2 013

7


advertising rates

advertising rates 2013 1x

4x

1/1 backside cover

€ 1480

€ 4736 (-20%)

1/1 page colour

€ 600

€ 2160 (-10%)

1/1 page greyscale + PMS

€ 400

€ 1440 (-10%)

1/2 page colour

€ 330

€ 1188 (-10%)

1/2 page greyscale + PMS

€ 230

€ 828 (-10%)

publication scheme 2013 advert deadline

publication

pantheon// food

10 February 2013

end of February

pantheon// through strange eyes

1 April 2013

end of April

pantheon// power

1 June 2013

end of June

pantheon// education

1 November 2013

early December

rates comparison 2013 pantheon//

AWM

de Architect

copies

2500

4500

5636

1/1 page

€ 600

€ 3250

€ 4820

€/1000 copies

€ 240

€ 722

€ 855

compare

8

p a n t h e o n //

m e d i a k i t 2 013


technical specifi cations

470 mm including bleed 460 mm

• graphics in .tiff /.jpeg/.pdf

470 mm including bleed 460mm mmincluding bleed 470

460 mm

• minimal resolution 300 dpi • colours in CMYK • pageformat 230 mm x 296 mm • bleed 5 mm • typography expanded

2/2 page

2/2 page

2/2 page page 2/2

296 mm

301 mm including bleed

235 mm including bleed 230 mm

296 mm

296 mm

text area: 450 mm x 291 mm

301 mm including bleed 301 mm including bleed

235 mm including bleed 230mm mmincluding bleed 235

trim area: 460 mm x 296 mm

230 mm

bleed area: 470 mm x 301 mm

1/1 page

1/1 page

text area: 220 mm x 291 mm

296 mm

trim area: 230 mm x 296 mm 120 mm including bleed

bleed area: 240 mm x 301 mm

115 mm

1/1 page page 1/1

301 mm including bleed

235 mm including bleed 230 mm

296 mm

296 mm

1/2 page landscape

120 mm including bleed 120 mm 115 mm bleed including

text area: 220 mm x 143 mm

115 mm

235 mm including bleed

1/2 page

301 mm including bleed 296 mm

1/2 page portrait text area: 105 mm x 291 mm trim area: 115 mm x 296 mm bleed area: 125 mm x 301 mm

p a n t h e o n //

230mm mmincluding bleed 235

230 mm

148 mm

trim area: 230 mm x 148 mm bleed area: 240 mm x 153 mm

301 mm including bleed 296 mm 301 mm including bleed 296 mm

m e d i a k i t 2 013

301 mm including bleed 301 mm including bleed

1/2 page 1/1 pagina 1/2 page

153 mm including bleed

148 mm

148 mm

153 mm including bleed 153 mm including bleed

1/1 pagina 1/1 pagina

9


tell your story with an advertorial An adver torial is a combination of an

advertorial rates 2013

advertisement and an editorial article. The

1x

information is presented in the same graphical

1/1 page colour

€ 730

style of the magazine to derive quality and

1/1 page greyscale + PMS

€ 530

credibility. When comparing an advert to an

2/1 page colour

€ 1100

advertorial, an advert is sublime at grabbing

2/1 page greyscale + PMS

€ 750

attention. On the other hand an advertorial is really well suited for telling a story, outlining scenario’s and convincing by means of

technical specifications

arguments. What does your company do

• graphics in .tiff /.jpeg/.pdf

and why is it interesting, or how can your

• minimal resolution 300 dpi

product set itself apart. With this you have the

• colours in CMYK

opportunity to convince by means of cases and

• pageformat 230 mm x 296 mm

evidence; a quality that is certainly appreciated

• bottom and right bleed 5 mm

by the readers of pantheon//. Young designers

• typography expanded

and architects to be can be introduced to your product and/or company at an early stage in their career. The editors of pantheon// can help and guide you in the process of delivering a message in words and graphics.//

10

p a n t h e o n //

m e d i a k i t 2 013


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38

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stylos // avontuur // algemeen

1. Felsnaad uit VM ZINC® 2. Onderbroken bebording (max. 400 mm as-op-as), verticaal gemonteerd (ventilatie) 3. Aanhakingsklang uit VM ZINC®, om te plooien dikte = 1 mm, l = 80 mm, 2 per m 4. Dampopen waterdichte folie (optie) 5. Ventilatierooster (max. maaswijdte: 2 mm) 6. Doorlopende afwerkingsstrook uit VM ZINC® dikte = 0,8 mm 7. Soepele kit, compatibel met VM ZINC® 8. Onderbroken houtwerk 9. Raamprofiel 10. Druipband uit VM ZINC®, doorlopend 11. Steunklang uit VM ZINC® dikte = 1,3 mm, l = 250 mm, 2 per m 12. Geventileerde ruimte 13. Draagstructuur 14. Isolatie

39

stylos // avontuur // algemeen

p34-40 algemeen 02.indd 38

18-6-2008 14:50:42

p34-40 algemeen 02.indd 39

18-6-2008 14:50:49

plastica & VM ZINC, published in pantheon// 2008 avontuur

//advertorial

Design speelt een hoofdrol Home collection

Vitra heeft sinds de jaren vijftig nauw samengewerkt met het beroemde

Na vele jaren gericht te zijn op de inrichting van kantoren en openbare

Amerikaanse designersechtpaar Charles en Ray Eames. De ontwerpers

ruimtes, heeft Vitra sinds een aantal jaar de Home Collection. De

raakten bevriend met de familie Fehlbaum, de eigenaars van Vitra. De Eames’ waren regelmatig in Weil am Rhein te vinden. Hun visie op modern

Vitra (Nederland) BV

Vitra Home Collection is speciaal bedoeld voor de particuliere

meubeldesign heeft grote invloed gehad en het Eames-nalatenschap wordt

De Oude Molen 2

woonbranche. Daarvoor worden nieuwe meubels ontwikkeld door

nog steeds met liefde en eerbied gekoesterd door Vitra. Ook de beroemde

1184 VW Ouderkerk a/d Amstel

hedendaagse ontwerpers zoals de gebroeders Bouroullec en Jasper

Panton Chair komt bij Vitra vandaan, die werd ontwikkeld in de jaren zestig,

tel: 020 - 5174444

Morrison en komen ook oude klassiekers van bijvoorbeeld Jean

www.vitra.com

Prouvé en George Nelson opnieuw in productie. De Polder Sofa van

www.design-museum.de

Hella Jongerius is één van de bekende en zeer succesvolle nieuwe

samen met de ontwerper Verner Panton. De Panton Chair werd in de hele wereld bekroond met designprijzen; de

meubels uit deze collectie.

stoel staat in talloze collecties van toonaangevende musea. Dankzij zijn

De Polder Sofa van Hella Jongerius, te vinden op de vide bij Stylos

expressieve vorm heeft de Panton Chair zich kunnen ontwikkelen tot een Design

icoon van het design van de twintigste eeuw.

Design speelt een hoofdrol bij Vitra en dat is merkbaar in alles. Zo heeft het bedrijf in de jaren tachtig een eigen museum opgericht, het Vitra Design Museum. Dit is een culturele instelling die zelfstandig functioneert en die zelf tentoonstellingen maakt over vormgeving en architectuur. De reizende tentoonstellingen gaan vanuit Weil am Rhein langs musea in de hele wereld. Bovendien beheert het Vitra Design Museum één van de allerbelangrijkste designverzamelingen. De collectie van het Vitra Design Museum is na een bescheiden begin in de jaren tachtig uitgegroeid tot een van de meest belangrijke internationale collecties op het gebied van hedendaags meubelontwerp. In 1989 omvatte de collectie

Joyn tafel van Ronan & Erwan Bouroullec, te vinden in alle ontwerpateliers aan de Julianalaan

ongeveer duizend objecten; sindsdien is deze uitgebreid tot ongeveer zesduizend stukken. De bedrijfsgebouwen van he museum zijn op zichzelf ook de moeite waard, want ze zijn ontworpen door een aantal grote architecten. Frank Gehry bouwde er bijvoorbeeld een fabriekshal en het museum. Tadao Ando ontwierp een conferentiepaviljoen en van Zaha Hadid staat er een brandweerkazerne. De fabriekshallen zijn van de architecten Alvaro Siza en Nicholas Grimshaw. Bouwkunde op de Julianalaan Een groot deel van de Vitra collectie is inmiddels ook terug te vinden in de nieuwe tijdelijke huisvesting van Bouwkunde aan de Julianalaan in Delft. In afstemming met de ontwerpbureaus verantwoordelijk voor de inrichting van het gebouw, zijn de verschillende meubels van Vitra opgenomen in het interieur. Alles van ruime werkplekken met grote witte bureau's tot gezellige zithoeken met bijzondere meubels uit de collectie vind je terug in het gebouw. Algues van Ronan & Erwan Bouroullec

In Nederland kan de hele Vitra collectie bekeken worden

De Panton Chair van Verner Panton te vinden bij M&C en FMVG

Amoebe Highback van Verner Panton te vinden bij RMIT

in de showroom van Vitra (Nederland) BV

32

stylos // dialoog // algemeen

stylos // dialoog // algemeen

33

vitra. advertorial, published in pantheon// 2008 deluxe

p a n t h e o n //

m e d i a k i t 2 013

11


contact information pantheon// editorial board pantheon@stylos.nl pantheon// editor-in-chief Nina Bohm +31 (0)6 384 338 22 n.bohm@stylos.nl find us at pantheon.stylos.nl study assocation Stylos BG.Midden.110 Julianalaan 132 2628 BL Delft +31 (0)15 278 36 97 pantheon@stylos.nl www.stylos.nl

pantheon// media kit | english edition  

D.B.S.G. Stylos is the study association of the Faculty of Architecture and the Built Environment at the TU Delft, founded in 1894. With ove...

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